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老派的生活著 是另一種浪漫
2022讓我們一起老派的愛上生活吧!
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感謝報時光的邀請
讓我能夠與你們分享我的老派生活
自從到了英國之後 那裡的生活其實也夠老派
在那裡活得像個當地人似的
逛了古物商店或是市集 對復古更是著迷不已
而老派生活日曆是屬於臺灣的復古
傳統卻不失風格 真的讓我一頁接著一頁翻著
喜歡老東西總是那樣耐人尋味
2022年是老派日曆的第4個年頭
讓老派融入到生活之中
食品廣告、藥品、收音機廣告、電視機廣告..
或許並不屬於我的年代 但是我喜歡那個年代
每一日都有老派的陪伴
日曆撕下來後 可以收藏也能當作拼貼素材
/
字打得多一些 但是影片中根本賣關子
容我滿滿跟你們分享我如何在日曆裡老派漫遊著
2022老派生活日曆已經在今天上線嘖嘖募資啦
想要在明年老派漫遊嗎?
不要忘記去下單屬於自己的老派生活唷!
✓ Made in Taiwan
✓ #報時光 #2022老派生活日曆
✓ #嘖嘖集資 (9/8 上線)
同時也有12部Youtube影片,追蹤數超過0的網紅alex lam,也在其Youtube影片中提到,《古早味,呷飽沒?》 走進一幕幕完美復刻的昔時場景,來一趟情懷滿溢的臺味之旅,呷下100% Made in Taiwan 的生活韻味。 #古早味呷飽沒 #CityPlaza #誠品書店 #台灣直送 #古早味市集 #太古城中心 #太古美食 #古早味蛋糕 #打卡 #太古城 「呷飽沒?」 簡單3個字的...
made in taiwan 年代 在 古俬選品 Facebook 的精選貼文
90年代後期,應該就是AIWA愛華的黃金輝煌年代。這兩顆愛華的主動式可懸吊喇叭真的是台灣之光。當年是MADE IN TAIWAN 遠銷日本的夯貨。全新未使用過老件,還有原來的盒子及說明書,輸出功率4W,可分離調整大小聲。
#愛華 #老家電 #收錄音機 #錄音帶音帶 #復古 #懷舊 #古董 #古俬選品 #歐美日老件 #昭和年代
made in taiwan 年代 在 VOP Facebook 的最佳解答
#新刊出版 New release!!!
Voices of Photography 攝影之聲
Issue 30:美援視覺性──農復會影像專題
U.S. Aid Visuality: The JCRR Issue
本期我們重返影響台灣戰後發展至關重要的美援年代,尋索過往在台灣影像歷史視野中遺落、但卻十分關鍵的美援時期台灣視覺歷程──「農復會」的影像檔案。
成立於1948年、以推行「三七五減租」和「耕者有其田」等土地改革與農業政策聞名的農復會(中國農村復興聯合委員會,JCRR),被認為是奠定二十世紀「台灣經驗」基礎的重要推手。然而很少人留意,這一農經專業的美援機構,在1950至60年代拍攝了大量的照片、幻燈、電影,並生產各種圖像、圖表、圖冊與海報,在冷戰年代與美援宣傳機制緊密連結,深深參與了戰後「台灣(視覺)經驗」的構成,影響著我們的視覺文化發展。
冷戰與美援如何形塑台灣的影像與視覺感知?本期專題透過採集考察眾多第一手的農復會早期攝影檔案、底片、圖像、影片與文獻資料,揭載鮮為人知的美援年代視覺工作,追尋這一段逐漸隱沒的戰後台灣攝影與美援視覺性的重要經歷。
其中,李威儀考掘農復會的歷史線索與視覺文本,探查美援的攝影檔案製程、「農復會攝影組」的成員蹤跡,以及文化冷戰期間從圖像、攝影到電影中的美援視覺路徑;蔡明諺分析1951年由農復會、美國經合分署與美國新聞處共同創辦的《豐年》半月刊,從語言、歌謠與漫畫等多元的視覺表現中,重新閱讀這份戰後最具代表性的台灣農村刊物潛在的意識形態構成與政治角力;楊子樵回看多部早期農教與政策宣傳影片,析論農復會在戰後台灣發展中的言說機制與感官部署,並從陳耀圻參與農復會出資拍攝的紀錄片計畫所採取的影音策略,一探冷戰時期「前衛」紀錄影像的可能形式;黃同弘訪查農復會在1950年代為進行土地與森林調查所展開的航空攝影,解析早期台灣航攝史的源起與美援關聯,揭開多張難得一見的戰後台灣地景航照檔案。
此外,我們也尋訪生於日治時期、曾任農復會與《豐年》攝影師的楊基炘(1923-2005)的攝影檔案,首度開啟他封存逾半世紀、收藏農復會攝影底片與文件的軍用彈藥箱和相紙盒,呈現楊基炘於農復會工作期間的重要文獻,並收錄他拍攝於美援年代、從未公開的攝影遺作與文字,重新探看他稱為「時代膠囊」的視覺檔案,展現楊基炘攝影生涯更為多樣的面向,同時反思「美援攝影」複雜的歷史情愁。
本期專欄中,李立鈞延續科學攝影的探討,從十九世紀末天文攝影的觀測技術,思考可見與不可見在認識論上的交互辨證;謝佩君關注影像的遠端傳輸技術史,檢視當代數位視覺政權中的權力、知識與美學機制。「攝影書製作現場」系列則由以珂羅版印刷著稱的日本「便利堂」印刷職人帶領,分享古典印刷傳承的工藝秘技。
在本期呈現的大量影像檔案中,讀者將會發現關於美援攝影的經歷與台灣歷史中的各種視覺經驗,還有許多故事值得我們深入訪查。感謝讀者這十年來與《攝影之聲》同行,希望下個十年裡,我們繼續一起探索影像的世界。
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● 本期揭載未曾曝光的美援攝影工作底片、檔案與文件!
購書 Order | https://vopbookshop.cashier.ecpay.com.tw/
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In this issue of VOP, we revisit the era of U.S. aid, a period that was of utmost importance to Taiwan’s post-war social and economic development, and explore Taiwan’s much forgotten but crucial visual journey during this era ── the visual archives of the JCRR.
Established in 1948, the Chinese-American Joint Commission on Rural Reconstruction, or the JCRR, is widely known for the implementation of various land reform and agricultural policies, such as the “375 rent reduction” and “Land-to-the-tiller” programs. Hence, the Commission is considered an important cornerstone to laying the foundations of the “Taiwan Experience” in the 20th century. That said, very few are aware that this U.S. aid organization specializing in agricultural economics was also closely associated with the American propaganda mechanism during the Cold War, and had in its possession countless photos, slides and movies, and produced various images, charts, pamphlets and posters. All these contributed to the formation of the post-war “Taiwan (Visual) Experience”, deeply influencing the development of our visual culture.
How exactly did the Cold War and U.S. aid shape Taiwan’s image and visual perception? This issue’s special feature uncovers the little-known visual activities from the U.S. aid era by investigating the collection of JCRR’s first-hand photo files, negatives, images, films and documents, and traces this important journey of post-war Taiwan photography and U.S. aid visuality that has gradually faded from people’s minds.
Among them, Lee Wei-I examines the historical clues and visual texts of the JCRR, and explores the production of the U.S. aid photographic archives, following the traces of the members of the “JCRR Photography Unit” and the trails of U.S. aid visuals during the Cold War from images and photography to films. Tsai Ming-Yen analyzes the diverse visual manifestations, such as languages, ballads and comics, contained in the semimonthly publication Harvest, which was co-founded by the JCRR, the U.S. Economic Cooperation Administration, and the U.S. Information Service in 1951, presenting a new take on the ideological and political struggles that were hidden beneath the pages of this agricultural publication that could also be said to be the most representative publication of the post-war era. Yang Zi-Qiao looks back at the early agricultural education and propaganda films, and analyzes the discourse and sensory deployment utilized by the JCRR in the development of a post-war Taiwan and the possibilities of the “avant garde” documentary films from the Cold War period through the audio-visual strategies gleaned from director Chen Yao-Chi’s documentary project that was funded by the JCRR. At the same time, Houng Tung-Hung checks out the aerial photography taken by the JCRR in the 1950s for land and forest surveys, and uncovers the origins of Taiwan’s aerial photography with U.S. aid, giving readers a rare glimpse at post-War Taiwan’s aerial landscape photographic archives.
In addition, we will explore the photographic archives of Yang Chih-Hsin (1923-2005), a former photographer who was born during the Japanese colonial period and worked for the JCRR and Harvest, unearthing negatives and documents kept away in the ammunition and photo-paper box that had stayed sealed for more than half a century. This feature presents important files of Yang during his time with JCRR, and photographs taken and written texts produced during the U.S. aid era but were never made public. We go through the visual archives enclosed in what he called a “time capsule”, shedding light on the diversity of his photography career, while reflecting on the complex historial sentiments towards “U.S. aid photography” at the same time.
Lee Li-Chun continues the discussion on scientific photography in his column, exploring the interactive dialectics between the seen and the unseen through the observation technology of astrophotography in the late nineteenth century. Hsieh Pei-Chun focuses on the history of the technology behind remote transmission of visuals and examines the power, knowledge and aesthetics that underlies contemporary digital visual regime. Finally, this issue’s “Photobook Making Case Study” is led by the printing experts at Japan’s Benrido, a workshop that is renowned for its mastery of the collotype printing technique.
Through the large collection of photographic archives presented in this issue, readers will see that there remain many stories on the photography process in the U.S. aid era and various types of visual experiences in Taiwan’s history that are waiting to be unearthed. We thank our readers for staying with VOP for the past decade and we look forward to another ten years of exploring the world of images with you.
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Voices of Photography 攝影之聲
vopmagazine.com
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#美援 #農復會 #冷戰 #台灣 #攝影
#USAID #JCRR #ColdWar
#Taiwan #photography
#攝影之聲 #影言社
made in taiwan 年代 在 alex lam Youtube 的最佳貼文
《古早味,呷飽沒?》
走進一幕幕完美復刻的昔時場景,來一趟情懷滿溢的臺味之旅,呷下100% Made in Taiwan 的生活韻味。
#古早味呷飽沒 #CityPlaza #誠品書店 #台灣直送 #古早味市集 #太古城中心 #太古美食 #古早味蛋糕 #打卡 #太古城
「呷飽沒?」
簡單3個字的台語,除了包含「吃飽了嗎?」之意,更是傳統農業社會裡最自然的問候。
太古城中心聯同誠品書店及誠品生活太古店攜手呈獻《古早味,呷飽沒?》,復刻五大臺灣經典懷舊打卡場景,加上千件臺灣直送原材食品及生活好物的古早市集,以及誠品獨家引入臺灣知名文具和生活品牌,讓大家身處香港都能瞬間走一趟限時的臺灣古早味之旅,重回美好純真年代!
五大臺灣懷舊打卡場景
近年興起的古早熱潮,源於對往昔事物的懷念,《古早味,呷飽沒?》展覽重塑五、六十年代臺灣懷舊場景,讓只曾在電影中出現的場景活現眼前,文青少男少女、情侶夫婦、一家大小都歡迎來到編寫屬於你們的古早之旅!
100% 臺灣直送「古早市集」
一個完美的旅行當然少不了搜羅當地出色獨有的手信,統統帶回家與親朋好友一同呷一口久違的臺灣味吧!這次古早味旅程尾站,誠品書店和誠品生活太古店為大家準備了1,000件 100%臺灣直送的原材食品及生活好物-從日常問候到古早情懷,從滿腹滋味到品味生活,一一滿心滿足。
https://www.cityplaza.com/zh-hk/whatshot/events/2021/retro-taiwanese-journey
《古早味,呷飽沒?》展場
地點: 二樓中庭及中橋
開放時間: 星期一至五11:00 ─ 21:00;星期六、日及公眾假期10:30 ─ 21:30
#canonphotography #BLOG #blogger #HKBLOG #hkblogger #HKFOOD #HKFOODBLOG
#hkfoodblogger #HKIG #HKIGFOOD #HKIGFOODBLOG #hkigblogger
#foodie #foodiehk #hkfoodie
![post-title](https://i.ytimg.com/vi/DplLW9str_k/hqdefault.jpg)
made in taiwan 年代 在 天下雜誌video Youtube 的精選貼文
*填問卷跟大家分享你的故事:https://bit.ly/3c9JLNo
不知道大家在買東西的時候,會不會注意到它的產地在哪裡呢?像是有些人買衣服喜歡買正韓貨,就會注意它是不是「Made in Korea」,買電器,可能會希望是「Made in Japan」。
不過,如果回到1980年代,你就可以看到許多在歐美販售的商品,都是台灣製造「Made in Taiwan」,比方說,美國孩子們最喜歡的芭比娃娃,就是在當時的台北縣泰山鄉「美寧工廠」製造的。
1984年,這年台塑PVC塑膠粉產量世界第一,中小企業高效率、中品質、低價位的策略,讓台灣製造的市佔率,有20項在世界市場上奪冠,全球每九個人穿的新鞋,就有一雙來自台灣;每十個玩具中,就有七個微型馬達是台灣製造。
台灣的GDP成長率更在這一年,站到了亞洲四小龍的第一名,贏過韓國、香港、新加坡。
台灣製造在80年代如何在全球發光發熱,我們邀請到經歷過這段時光的上銀集團總裁卓永財,來跟我們好好說那年的故事。
主持人:涂豐恩
與談人:上銀集團總裁 卓永財
#卓永財 #亞洲四小龍 #GDP #podcast #台灣 #MIT
*天下40網站:40.cw.com.tw
*好好說那年歌單:http://bit.ly/3rP3uHZ
*填問卷跟大家分享你的故事:https://bit.ly/3c9JLNo
*留言信箱:bill@cw.com.tw
►按小鈴鐺通知 搶先看,精采獨家全面掌握!
►需要字幕的朋友,請記得開啟CC字幕 !
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更多精采內容請見:
◎天下雜誌:http://www.cw.com.tw
◎天下雜誌video:http://www.cw.com.tw/video
◎天下雜誌video FB粉絲專頁:https://ppt.cc/flhPQx
◎天下雜誌IG http://bit.ly/2R6jfL6
◎天下雜誌網路書店:https://www.cwbook.com.tw/
![post-title](https://i.ytimg.com/vi/QRbX1ENdPsU/hqdefault.jpg?sqp=-oaymwEbCKgBEF5IVfKriqkDDggBFQAAiEIYAXABwAEG&rs=AOn4CLAJ7mLLWBy9ev8YVu3Xe-UaR8PTuw)
made in taiwan 年代 在 alanreborn79 Youtube 的最佳貼文
三十八歲的彭于晏,出道十八年,從愛情戲中的陽光大男孩,到後來成為台灣男神的代表。
在這賣臉的年代,這種不怕苦、沒負面新聞、人又謙虛,確實是難得。更值得學是他人生價值觀。他曾經說過「我就是沒有才華,所以才拿命拼。我不怕吃苦,就怕學習不到東西。」
《聽說》,他學會了手語,練了三個月,每天練到手抽筋。《翻滾吧,阿信》,他苦練了八個月,幾乎每天都進行10個小時以上的體操練習。《激戰》,和真正的拳擊手練打了三個月,練到體脂只有3%。《黃飛鴻之英雄有夢》,他學會了工字伏虎拳、虎鶴雙形拳。《破風》,他每天騎行六七個小時,考到了場地專業賽車手證。《湄公河行動》,他學會了泰語、緬甸語、射擊,還參加了泰國皇家御用保安的特訓。《緊急救援》,彭于晏又花了很多的時間把自己培養成一個有資格的救生員。
有人說他靠運氣?他也不是一帆風順的。他也試過一整年沒工作、沒收入、欠下巨額的債務、人生也試過低落谷底。所以他靠的不是運氣而是人品,無時無刻帶著一種樂觀、感恩、做好自己、正面的態度看待每一天。我們能學到及做到的話,或許都可以創造屬於自己的輝煌時代。
影片內講者的言論純屬個人意見,有關資料只供參考。有興趣就訂閱我的channel支持一下。感謝大家!
For this video, we will be discussing about why Eddie Peng has become the heartthrob of Taiwan. In this video, you will understand Eddie's life and work philosophy and how he spreads this amazing positive charisma that makes him so likable. Furthermore, you will also find other inner qualities as he takes on new challenges in his movies such as: Optimism, Confidence, Authenticity, Gratitude, Persistence.
Some may say that he just got lucky but I think it's his character and positive attitude that brought him to where he is now. Perhaps we can also take a page out of Eddie's experiences and understand that we should be looking for answers from within, as opposed to always chasing for that tangible matter on the outside. That personal truth (i.e. personal happiness / thoughts / integrity / desires) cannot be defined by anyone other than yourself.
This video is only used for commentary purposes. Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use.
喜歡的歡迎訂閱我的頻道, Please subscribe to my channel
https://www.youtube.com/alankong1979
Instagram: @alanreborn79
Facebook: https://www.facebook.com/alan.kong1
Medium: https://alanreborn79.medium.com
![post-title](https://i.ytimg.com/vi/0R2d3pxGDDM/hqdefault.jpg)